It’s rare to meet real friends as an adult. The kind of friends who just stop by unannounced, who hang out at your place doing nothing in particular, who connect with you about art on some instinctual level, those kind of friends you meet as a kid and grow old with. They’re not someone you expect to meet in your third decade of life.
Chad Osborn, however, was one of those friends.
The video for the final song on David Bowie‘s final album has arrived. It was made without the man himself, of course; Bowie doesn’t appear on screen once. In fact, no one appears on screen. Using only text and minimalist graphics, the video pulses with life, propelled by the fallen star’s immortal energy.
You need to see I Can’t Give Everything Away:
“Where the fuck did Monday go?”
David Bowie is actually dead. It feels strange to say this. More than any other artist on the planet, Bowie always seemed to move beyond mere mortals. To the world, he was larger than life. His work was timeless, always a step ahead and off to the side from everyone else. Even his most popular songs felt beamed in from another place, with a unique sensibility that could come from no one else. He is universally beloved by entire generations, despite remaining as weird as a man can be.
Infinitely more important to me, however, is the space he occupied in my life. David Bowie is the one and only artist to have been there all along. I mean this in the most literal sense.
He starred in one of the first films I can remember watching, Jim Henson’s dark fantasia Labyrinth. Despite playing the villain, he was a magnetic attraction. Enigmatic, beautiful, always a touch removed from the teenage heroine and the viewer alike, he was the spectral vehicle and its destination in one. As the Goblin King, he invited my young mind on a journey with the promise of adventure, tinged with a little fear and weighted by potential loss. There were high stakes for reaching out to take his hand, but the rewards unfolded past the horizon. I was smitten before I knew it.
Growing up in the 80s and 90s, past the peak of his commercial popularity, I swam in the echoes of David Bowie’s legacy. He was so far ahead of the game that I never quite caught up. My earliest radio memories were filled with older icons like Roy Orbison, The Beach Boys, and of course, Bowie. I would bicycle around my forested neighborhood singing Pretty Woman, I get Around, and The Man Who Sold The World. I had no grasp on time, never differentiating between oldies and current hits. The music simply was what it was, the soundtrack to my childhood, the intangible spirit in the air.